To fans of Robert Moses, his style is unmistakable: a combustible blend of the studio and the street, mixing sleek extensions and rippling spines with raw, jiving gestures.

But Moses says, "Ideally for me, the style changes piece to piece, because you do what the piece needs." And in "Profligate Iniquities," the centerpiece of Robert Moses' Kin's 19th home season Thursday through Sunday, that style is "passionate, raw, open, at times very physical and at times restrained." The music is the impetus: Sephardic romances from Spain, sweeping and rhythmically rich. And the cast is large: In addition to his usual 10 fierce dancers, who include such diversely powerful women as the magisterial Katherine Wells and the muscular Crystaldawn Bell, Moses has added four new women for this work.

The program, titled "Rise," also includes last year's rousing collaboration with blues musician and composer Corey Harris, "NEVABAWARLDAPECE" (as in, "never be a world of peace"). But the biggest treat may be the chance to see Moses himself in a new solo, his first appearance with the company since 2007, and his first dancing role since "Word of Mouth" in 2002. "Slow Rise of a Rigid Man" is, Moses says, part of his "Blood in Time" series, begun 14 years ago. But while earlier installations of those solos examined family members like his mother and grandmother, in this solo Moses looks at himself.

"I was sitting on Muni with my dance bag and getting second looks," he said. "You know, I'm in my sloppy sweats, I've got my headphones on. I don't look like a middle-aged office warrior. I'm wearing the same uniform I was when I was 20, but people are evaluating me differently."

His hair may now have a few grays, but his muscles are strong, thanks to his work as faculty and artist in residence at Stanford University. "I'm not doing grand jetés all over the place, but I teach almost every day," he said. "My body feels good."